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jeremy rourke

A couple of weeks ago I attended an evening of silent films and live music at Artists’ Television Access called “Re-Tracked Animation.” The program was part of the regular Other Cinema series that occurs at ATA most Saturdays.

As we arrived, there were old film clips (from the 1940s or earlier) playing with various soundtracks. The initial film featured a keyboard player wearing a turban (to look stereotypically “exotic”) set against something that sounded like the Chipmunks. The next short featured a more abstract grainy cartoon with figures made from simple geometry against a more electronic noise-based soundtrack – this one was quite interesting in itself. The final video, a very old Porky Pig cartoon, was played straight.

It was then time for the main features to begin. Jeremy Rourke presented several of his animated video pieces with live accompaniment on guitar, voice and percussion – specifically, singing bowls. His visuals combined found material, often with a “turn-of-the-20th-century” feel to it, with more contemporary video backgrounds and illustrations. You can see one of the videos, eyes hearing stars, in this clip below:

This one in particular featured some moments I referred to as “Monty Python meets Central Park” in that it reminded me a bit of Terry Gilliam’s animations, but the highly processed background of modern-day urban park video and abstract graphical elements give it a unique feel. Musically, the texture was sparse and worked in concert with the video rather than vying for attention away from the imagery, so the overall experience was quite captivating.

For his final piece, Rourke came on stage wearing all white and carrying an all-white guitar. It was clear that he and his instrument were going to be part of the screen for the next video, and that is indeed what happened.

The final video featured more live footage than his earlier animations, and the music was purely guitar-based.

After an intermission, the program resumed with a screening of the Brothers’ QuayIn Absentia with music by Karlheinz Stockhausen. Regular readers know that Stockhausen is one of my musical heroes, so I was quite interested to see and hear this piece. The film, although done in 2000, feels like it is much older. The grainy images paint dark and dystopian visuals of ruined machinery against the main scenes of a woman in an asylum and her repetitive existence, writing notes on paper, placing them in envelopes and into a grandfather clock. The music, which is from Stockhausen’s piece “Zwei Paare”, predates the creation of the film, but they nonetheless work together well to create the overall haunting and eerie landscape.

The final set featured members of the ensemble Thomas Carnacki with Greg Scharpen, Jim Kaiser, Jesse Burson, and Gregory Hagan performing live audio tracks to two films. The first was Jan Svankmajer’sThe Fall of the House of Usher, based on the Edgar Allan Poe story of the same name. The Poe story was read live by Dean Santomieri along with the music. The visuals featured an empty and abandoned looking manner home, perhaps how the House of Usher would look after the fall. It was forlorn and sad, but rich with texture. And Santomieri’s voice is always captivating in live readings.

The final piece of the evening featured the ensemble performing live to Ladislas Starewicz’ strange but delightful stop-animation film The Mascot. The film, which was created in 1933, features a cast of puppet dogs, cats, dolls, skeletons and any number of other creatures.

It is amazing to think what Starewicz was able to do in the 1920s and 1930s with his creations, without the aid of 3D computer animation or even more modern model-making done at special-effects houses. Below is a still from the original film:

The film is available on the Internet Archive (http://www.archive.org) in its entirety, so I will be tempted to try my own hand at an audio accompaniment for it one of these days…